Coyote City / Big Buck City: Two Plays (Exile Classics Series: Number Twenty-Nine)

by Daniel David Moses

Overview

A respected First Nations Canadian playwright and Governor General’s Award finalist, Daniel David Moses is known for using storytelling and theatrical conventions to explore the consequences of the collision between Indigenous and non-Indigenous cultures. Coyote City and Big Buck City are the first two in his series of four City Plays that track the journey of one particular Native family between a world of Native spiritual traditions and the materialist urban landscape in which we all attempt to survive. Coyote City, a tragedy, begins with a phone call from a ghost that sends a young Native woman, Lena, her family in pursuit, on a search in the city for her missing lover Johnny. Big Buck City, a farce, tells the story of Lena’s subsequent Christmas reunion in that city with her family just in time for the birth of her own miraculous child.

Product Details

ISBN-13:	9781550966787
Publisher:	Exile Editions
Publication date:	11/01/2017
Series:	Exile Classics series
Pages:	240
Product dimensions:	5.50(w) x 8.50(h) x 0.60(d)

About the Author

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Read an Excerpt

CHAPTER 1

COYOTE CITY

The ghost said to Coyote, "Here we have conditions different from those you have in the land of the living. When it gets dark here it has dawned in your land and when it dawns for us, it is growing dark for you." (Coyote and the Shadow People)

To be seen is the ambition of ghosts and to be remembered the ambition of the dead. (Norman O. Brown)

COYOTE CITY was produced by Native Earth Performing Arts Inc. at the Native Canadian Centre of Toronto from 17 May to 5 June 1988, with the following cast:

JOHNNY: Gordon Odjig

LENA: Alanis King

BOO: Tina Louise Bomberry

MARTHA: Margaret Cozry

THOMAS: Ron Cook

CLARISSE: Gloria Eshkibok

Directed by Anne Anglin

CHARACTERS

JOHNNY, a young Indian man, a ghost.

LENA, a young Indian woman.

BOO, a young Indian woman, LENA's younger sister.

MARTHA, a middle-aged Indian woman, LENA's mother.

THOMAS, a middle-aged Indian man, a minister.

CLARISSE, an Indian woman, a hooker.

SETTING

The play is set in a darkness complicated only by spotlights and the shadows of the characters and the few necessary properties. It happens just yesterday on a reserve and then in the city.

ACT ONE, SCENE ONE

Darkness.

JOHNNY:

Give me a drink. I need a drink. Shit. I'm over here you bugger. (a spot reveals him, he speaks to it) I'm almost empty here. Come on and dispense with the booze.

Please, man, I'm good for it. You can trust me. I'll pay you tomorrow first thing. Come on. Come on, man, really.

Hey, you want my knife? It's a real beaut. Look at all the things, man, the gadgets. Hey, you can even cut your toenails. Come on, guy, just one more beer. Shit.

Hey, how about a date with a real doll? Shit, man, she's fresh from the bush. I'll give you her number. Real pretty Indian chick. What do you say? What do you say?

How about a story my granddad gave me? A real good story, man. A love story. Come on, man, the ladies really love to hear this story. Shit, it gets them all loose. You like loose ladies, don't you? Just another beer, man. Just one. That's all.

(to the darkness) Acting like I'm not here, like he can't see me. Acting like I'm just another drunk Indian. Think he thinks I've had enough? Do you think that too? Do you think I've had enough? Enough? Shit. You think I've had too much. Well, who the fuck are you anyway? I don't know you. I don't know you. Shit, you're not even real. I know I need a drink when I meet you. I look at you and I need a drink. Hey, you're nothing but a bunch of spooks. That's why I got the shakes. You're the ones took Coyote in when he was looking for his woman. But no way you're tricking me. No way. I'm too smart for you. You can't get away with all that stuper-shitting with me. You're not going to get away with anything with me. You're going to buy me a drink. Shit, yeah, you're going to buy me a fucking drink.

ACT ONE, SCENE TWO

A telephone rings a party line ring. A spot reveals it. LENA enters and answers it just after the fourth ring.

LENA:

Hello. Hello. Someone there?

JOHNNY'S VOICE:

(a poor connection) Lena. Lena, is that you?

LENA:

Who's this?

JOHNNY'S VOICE:

Oh Lena, babe, don't you recognize me?

LENA:

Johnny?

JOHNNY'S VOICE:

Lena, don't hang up, please.

LENA:

Johnny. I'm not.

JOHNNY'S VOICE:

Shit, please, I got to talk to you.

LENA:

I'm listening, Johnny. I'm not hanging up now.

JOHNNY'S VOICE:

I'm not drunk, babe. You know me.

LENA:

I shouldn't have yelled before. You sound like long distance.

JOHNNY'S VOICE:

Shit, Lena, you know what it's like, this place? Nobody will talk to me. They look right through you, like you're invisible.

LENA:

That's crazy talk, Johnny.

JOHNNY'S VOICE:

No. No, there's nobody I can talk to. They won't even give me a beer. Babe, you should come.

LENA:

Didn't we say we'd wait? We don't have the money.

JOHNNY'S VOICE:

Oh babe, I'm fucking lonely. I miss you. Shit I think about the way you looked. That time down by the river. Do you remember? The way you looked down at me. I loved you making them little moaning sounds.

LENA:

Stop it, Johnny.

JOHNNY'S VOICE:

Your sweat was so sweet, babe. Better than wine. Makes me thirsty just talking about it. Oh babe, the way we did it together. We'd be like that again, babe, like last summer. Didn't we have fun? Oh baby, you'd be my booze.

LENA:

Oh Johnny, you're so crazy.

JOHNNY'S VOICE:

Shit, Lena, don't you know I love you?

LENA:

Where are you? Where are you, Johnny? I'll come. I want to be with you. Tell me where you are.

JOHNNY'S VOICE:

I'm in the Dollar, the shitty Silver Dollar.

LENA:

I'll come to the city, Johnny. I'll meet you there. I'll be there soon as I can tomorrow.

JOHNNY'S VOICE:

Oh babe, I can't wait.

LENA:

No more waiting, Johnny. I'm on my way.

JOHNNY'S VOICE:

Oh babe, are you really?

LENA:

Sure thing, Johnny, sure thing.

JOHNNY'S VOICE:

I love you, Lena. Shit I love you.

ACT ONE, SCENE THREE

A dial tone. A spot reveals LENA still holding the phone. BOO enters.

BOO:

Hey, who was on the phone?

LENA:

You almost gave me a heart attack, Boo.

BOO:

So what else is new?

LENA:

Don't be so loud.

BOO:

Loud?

LENA:

Loud. You'll wake up Momma.

BOO:

I'm not the one chattering her head off on the party line at three a.m.

LENA:

Hush up, will you. Go back to bed.

BOO:

If she's awake it's not because of me.

LENA:

Let's both of us be quiet.

BOO:

If she's awake, it's from worrying over you.

LENA:

Can't you keep it down?

BOO:

She hasn't had a solid night's sleep since you started acting up.

LENA:

Leave me alone.

BOO:

You're such a phony, Lena. You don't give a shit about Ma.

LENA:

I'm going back to bed.

BOO:

Haven't you spent enough time there?

LENA:

Let me by, Boo.

BOO:

You can't go on acting like this.

LENA:

I'm not acting.

BOO:

Six months, Lena.

LENA:

Let me through, Little Sister.

BOO:

I'm tired of washing your pillow of dark and secret heartache. Tears and snot, tears and snot.

LENA:

That's over now. Over. I promise.

BOO:

A likely story. When did you ever do your share?

LENA:

You won't have to do my share no more. It's a sure thing.

BOO:

Lena, if you just talk about it, it won't hurt so bad.

LENA:

You think you're smart.

BOO:

Think of Ma. If she sees you in the middle of your famous I Walk Like A Zombie act again —

LENA:

You think you know it all, don't you?

BOO:

No I don't, Lena. I don't know who was on the phone.

LENA:

Shut up, Boo. Shut the fuck up!

BOO:

Shut the fuck up? Now who's being loud?

LENA:

Out of my way. You're a brat. Nothing but a spoiled brat.

BOO:

You woke her up and you're leaving me to suffer for it?

LENA:

I can still make you cry.

BOO:

Did I miss it? Did you shed some light on the mystery caller?

LENA:

You're asking for it.

BOO:

Yup. Who was on the phone?

Enter MARTHA.

MARTHA:

Stop that, Boo. Stop that now.

LENA:

Let go of me. You're hurting me.

MARTHA:

Leave your sister alone. I can't believe it. Let go of her. Let go. Now both of you come over here. Come on. What you girls doing out of bed at this hour? Boo?

BOO:

I'm sorry, Ma. Lena was —

LENA:

Don't lie, Little Sister.

MARTHA:

You're supposed to be grownups.

BOO:

I suppose you were just asking the night operator about

her operation for half an hour.

MARTHA:

Night operator?

BOO:

She was on the phone.

MARTHA:

It did ring then. What's wrong, Lena? Who called?

LENA:

There's nothing wrong, Momma.

MARTHA:

But someone did call?

BOO:

Lena, she asked you a question.

LENA:

Leave me alone.

BOO:

This is getting boring.

MARTHA:

Be quiet, Boo. Is something wrong, Lena? Answer me.

LENA:

Not in front of her.

BOO:

Okay. (she turns her back) How's this?

MARTHA:

Boo, that's enough —

BOO:

Is that you, Ma?

MARTHA:

Daughter.

BOO:

Yeah, Ma?

MARTHA:

You've had your fun. Now go make a pot of tea.

BOO:

I don't drink that stuff, Ma. Gives you a shaky head.

MARTHA:

You're making it for me, Daughter.

BOO:

Oh. Okay, Ma.

MARTHA:

Thank you, Boo.

BOO:

Should I maybe like make you your toast too?

MARTHA:

That would be nice.

BOO:

Because look. There's already light out in the east, so it's almost time for breakfast.

MARTHA:

Thank you, Boo.

BOO:

And all those birdies out there, chattering their little heads off, I mean, we'll probably never get back to sleep now —

MARTHA:

That's enough, Boo.

BOO:

How about some honey, Ma?

MARTHA:

I'm on a diet, Daughter!

BOO:

Okay. Okay, I'm going. But she'll tell me later anyway, Lena. (she exits)

MARTHA:

Oh Lena, sometimes your little sis is almost too much for me.

LENA:

I'm sorry we woke you, Momma.

MARTHA:

Why do I still have to pull you apart at my age?

LENA:

I told her not to be loud. I told her you'd wake up.

MARTHA:

Oh you can't tell your sister a thing. You know that. But she just wants to help.

LENA:

I just wish she'd mind her own business.

MARTHA:

Your sister's just worried for you, Lena. Both of us are. We don't want you upset again. You need your rest. That wasn't bad new, was it, on the phone?

LENA:

No, Momma, she's not worried. She doesn't care about me.

MARTHA:

Now Lena, that's not true. Boo's your sister.

LENA:

She's jealous. Just jealous. And it's too bad, because he never really liked her.

MARTHA:

Who? Who you talking about?

LENA:

It's so dumb and sort of sad. But that's why she's after me. She can't get over it. She can't admit it, that Johnny loves me.

MARTHA:

Johnny?

LENA:

I should tell her the truth. I should tell her, shouldn't I? To settle it. She's got to grow up someday.

MARTHA:

What do you mean, Lena?

LENA:

That it was Johnny that called. And that he called me, all the way from the city.

MARTHA:

Lena, that can't be.

LENA:

I don't like to hurt her, Momma. I know how she must feel. I know how I'd be if he didn't love me no more.

MARTHA:

Lena, Lena, look at me.

LENA:

But he shouldn't be between us. I'll tell her.

MARTHA:

Lena, stop. Don't tell your sister that.

LENA:

Don't worry, Momma. Boo can take it. She's strong.

MARTHA:

No, Lena, no. You've got to listen to me.

LENA:

Boo! Boo come in here!

MARTHA:

Oh Daughter, you're not awake, you're not awake, you're dreaming.

LENA:

Stop listening at the keyhole, Little Sister.

BOO enters.

BOO:

The word is eavesdropping. And I wasn't. With all those birds twittering away, it wouldn't have done no good.

LENA:

You still want to know about the phone?

BOO:

Is her memory going again?

MARTHA:

This is no time for jokes.

BOO:

What is it, Ma?

LENA:

Know who called me? All the way from the city?

BOO:

The city? Was it Aunty?

MARTHA:

You had a bad dream, Lena, a bad dream.

LENA:

You know who it was?

BOO:

I was doing better listening to the birds.

LENA:

I'm going to tell you. But you got to listen close. I want it to get through your head. I don't want this between us no more.

BOO:

Okay. Enlighten me. This must be serious stuff.

MARTHA:

It's starting all over again, Boo.

LENA:

It was Johnny. Yeah, Johnny.

BOO:

Wait a minute, Lena —

LENA:

No, you wait, Little Sister. You wait and get it through your head. Johnny called me. He didn't ask for you. He didn't even mention you. He called me. Under stand?

BOO:

You're serious, aren't you?

LENA:

I'm sorry, Little Sister. That's the way it is.

MARTHA:

Oh my baby, you were doing so good.

LENA:

What's the matter, Momma?

BOO:

What's the matter! She's gone cuckoo. She's gone real cuckoo this time. You're out of your nest, you know that?

LENA:

Don't be mad, Boo. Why can't you just admit he loves me?

BOO:

It's kind of beside the point.

MARTHA:

Daughter, listen to your sister.

LENA:

Momma, tell her he loves me. I'm sorry, Boo, really.

MARTHA:

Lena, try to remember about Johnny.

LENA:

I'm going to see him tonight, Momma.

BOO:

Lena, you know Johnny is dead.

LENA:

We're meeting at the Silver Dollar.

BOO:

Lena, Johnny is dead. He's dead.

LENA:

Little Sister, you mustn't cry. Everything's going to be okay.

BOO:

I'm not crying.

MARTHA:

Lena, listen to Boo. She's telling you the truth.

LENA:

Oh Momma, she's got a broken heart.

MARTHA:

No, Lena, remember. Johnny's gone.

LENA:

He's waiting for me.

BOO:

Lena, there was a fight, a knife. Remember that goofy knife of his? The Silver Dollar's the place he got killed.

LENA:

Do you think he had a good time? Visiting his folks out west. I can't wait to hear about it.

MARTHA:

Lena, remember, the police called.

BOO:

They even showed up here. Remember how that cop car almost got stuck in the lane?

MARTHA:

They asked about where he was from.

LENA:

Momma, why didn't you ask me?

MARTHA:

Lena, it was in the newspaper. Remember the newspaper?

LENA:

Don't believe everything you read, Momma. It's crazy. The newspapers lie. Isn't that what you always say, Boo? A likely story? They're always telling lies about us. Isn't that true?

BOO:

But why lie about a guy like Johnny?

LENA:

You know why, Boo. Johnny was never one of them Indians they write about. Johnny's special.

BOO:

Johnny was just a regular guy.

LENA:

The day you brought him home you said he was bright.

MARTHA:

Lena, listen. He was just a drunk.

LENA:

Momma, he's going to do something real special someday.

MARTHA:

Lena. Lena, where are you going?

LENA:

Got to pack, Momma. I'm going to be with him that day. (she exits)

MARTHA:

Lena. Oh my poor baby.

BOO:

What a joke. He was such a jerk.

MARTHA:

What are we going to do?

BOO:

Always calling up drunk. That's why long distance gives me the creeps.

MARTHA:

Turn on a light. I can't think.

BOO:

Ringing in the middle of the night, waking us up.

MARTHA:

I thought this was all over with, Boo.

BOO:

Ma, seems like there are telephones on the other side.

MARTHA:

Don't talk nonsense.

BOO:

Calls like this don't come from a person, Ma.

MARTHA:

Boo, how do we get through to her?

BOO:

Christ, I don't know. Call her on the telephone?

MARTHA:

Don't be smart.

BOO:

Disembodied. That's the word.

MARTHA dials a local number.

BOO:

We could all be spooks as far as telephones are concerned.

The telephone rings a different party line ring.

BOO:

Ma, who you calling?

MARTHA:

I hope he's there. It is early yet. He won't be making calls.

BOO:

Ma, talk about spooks, you're not calling him. (she stops the call)

MARTHA:

Who else can help us?

BOO:

Ma, we don't need him.

MARTHA:

You're ungrateful, Boo. He helped me a lot. Those first few weeks were so bad.

BOO:

Well, we don't need him now.

MARTHA:

Didn't you hear what your sister said?

BOO:

Ma, we'll help her, but just us, just family.

MARTHA:

This is worse than before. And Thomas was your father's best friend. He is family.

BOO:

With family like him, who needs vultures? He's only around when there's trouble.

MARTHA:

Trouble is his business.

BOO:

Is that on his calling card?

MARTHA:

He's a man of the cloth. Don't you laugh. He's a man of the cloth and there's trouble now and I don't know what to do. And you don't either.

BOO:

Ma, we could just talk to her.

MARTHA:

Talk? I'm tired of talk. That's all I been doing. Six months of talk. Talk talk talk. I don't know what else to talk about. What else can I say? 'The hurt will go away, the hurt will go away'? It doesn't get through to her. I'm tired of it. I'm tired. I've said all I can say. (she dials again and the different ring recommences)

BOO:

Ma, let me. I'll do it. I'll talk to her.

MARTHA:

Oh you, you leave her alone.

A spot reveals THOMAS picking up his receiver, the ringing stops.

BOO:

No, Ma, listen to me. Let me try.

MARTHA:

Be quiet! Hello. Hello, Thomas? Are you there?

THOMAS:

Is that Martha?

MARTHA:

I'm sorry. It's awful early —

BOO:

Hang up, Ma. Hang up. We can handle this ourselves.

MARTHA:

Be quiet when I tell you. You're supposed to be a grownup. Thomas?

THOMAS:

I'm here, Martha.

MARTHA:

Thomas, I ...

THOMAS:

Yes, Martha?

MARTHA:

It's Lena.

BOO exits.

THOMAS:

What is it? What has she done? Are you all right?

MARTHA:

Please. I can't talk about it on the phone.

THOMAS:

Did she injure herself?

MARTHA:

Thomas, not on the phone.

THOMAS:

All right, Martha. As you wish. Pray to our Lord for strength, Martha. I'll be right over.

MARTHA:

Thank you. Thank you, Thomas. I'll do as you say. Hurry. (she hangs up, her spot fades out)

THOMAS:

Praise the Lord, Martha. Praise our Saviour as I do. I offer thanks to Him again this morning for bringing you back into my life. I thank Him for bringing me into this new day, for allowing me to be of service to such a fine lady and her beautiful, beautiful daughters. Heavenly Father, in the name of your son Jesus, I again give myself like a present to you. I pray and ask Jesus to be Lord of my life. In my heart I believe and so I say with my mouth: He has been raised from the dead. Jesus has been raised from the dead. He is the light of my life. Jesus enters my heart. I am saved, yea, I am saved, reborn a Christian child, a babe of Almighty God. Oh my heart has been raised up again like the sun this day from the dead.

(Continues…)

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Excerpted from "Coyote City Big Buck City"
by .
Copyright © 2017 Daniel David Moses.
Excerpted by permission of Exile Editions Ltd.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

COYOTE CITY and BIG BUCK CITY: URBAN WILDERNESS An interview with Daniel David Moses by Nadine Sivak,
COYOTE CITY,
BIG BUCK CITY,
Questions for Discussion,
Related Reading,

Editorial Reviews

"Coyote City . . . in performance clearly would become a poem in its entirety… I’ve read nothing that conveys so powerfully how Canada and the future look to young Native men and women who choose the company of their own dead in preference to life in a society with no role or place for them. It’s not just the best Canadian play I’ve read this year but the best in several years.” —Globe and Mail

From the Publisher